美工Word文件下载.docx
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美工Word文件下载.docx
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PRODUCTIONDESIGN生产设计(现代的美工)
PRODUCTIONDESIGN
Whethereornotthedirectoristhemainvisualizerforafilm,thedevelopmentandimplementationofthevisualplanistheresponisbilityoftheproductiondesignerandhisstaff.Thisorganizationofthecreativeforcesisnecessarywheneverstorytellershopetocontrolthetimeandsettingofapicture,evenwhenthesubjectsaresimpleeventssetinthepresent.Thenotionofdesigningthemise-en-sceneofafilm,ratherthanphotographingavailablereality,firstevolvedinpartbecauseoftheneedsoffiction,butalsobecauseoftheeconomiccinsiderationsofproduction--thetwinenginesofevolutionandchangeintheHollywoodstudiosystemfromitsverybeginnings.
Theemergenceoftheartdirectorasacreativeandkeyorganizationalpositionbeganearlyinthesilentperiodwhenmovieswerestillgreatlyinfluencedbythetheater.Typiucally,theartdirectorwasascenicdesigner,andtheearlysetswerelittlemorethanpaintedbackdropsandsomefurniture.Themovefromstageflatstoconstructedsetswasinevitable--Griffith,withhisrefinementofmultipleviewpoints,hadseentothat.Butitwastheshort-livedinfluenceoftheItaliancinemathatchallengedGriffithandtherestoftheAmericanmovieindustrytomatchItalianproductionstandards.
TwoItalianproductions,QuoVadis?
(1912)andCabiria(1913),werethemostambitiousandtechnicallysophisticatedfilmsoftheirtime.Bothusedfullyconsttuctedandmeticulouslydetailedsets,artificiallightingeffectsandlimitedmovingcamera.TheirenormoussuccessbrieflyovershadowedGriffity'
sworkduringthisperiod.Butinspiredtoaconsiderableextentthescopeofhismostinnovativematurefilms,JudithofBethulia(1913),BirthofaNation(1915)andIntolerance(1916).
Therapidlyincreasingcomplexityofthephysicalproductionofamovieduringthenmid-teens,includingconstructedsetsandthegreatermobilityofthecamera,requiredgreatercooperationbetweentheartdirectorandthecinematographer.Artdirectorsdiscoveredthatthegraphicillusionstheywereexpectedtoprovideweredependentonthecamera.
Therapidlyincreasingcomplexityofthephysicalproductionofamovieduringthemid-teens,includingconstructedsetsandthegreatermobilityofthecamera,requiredgreatercooperationbetweentheartdirectorandthecinematographer.Artdirectorsdiscoveredthatthegraphicillusionstheywereexpectedtoprovideweredependentonthecamera.Theylearnedtousepartialsetstoexploitthecamera'
slimitedview,andmatteshotsandmodelstoreplacescenicbackdrops.Bynecessity,artdirectorswereinvolvedinthephotographicdecisionsrequiredtoimplementthesenewcinematictechniquesandinsodoingmadethetransitionfromtheatricaltoscreendesign.
Asthefeaturebecamethedominantfrominthemovies,survivalforanycompanymeantproducingfilmsrapidlyandefficiently.Thepracticeofshootingscenesoutofsequencebecamecommon,andcraftspeoplemightworkonseveralmoviessimultaneously,makingprops,setsorcostumesinthenewlybuiltstudiosatUniversalCity,IncevilleorCulverCity.Followingnineteenthcenturyprinciplesofmassproduction,jobsbecamespecialized,anddepartmentswereestablishedforeachphaseofproduction,includingscriptwriting,setconstruction,properties,costumes,cinematographyandediting.
By1915scenery,propsandcostumesbuiltforonemoviewerebeingstoredforlateruseonanother.Thedepartmentalsysteminthestudiosrequiredgreaterorganizationandcommunicationbetweendepartments,andbecausethemostcomplex,expensiveandlabor-intensiveareaswererelatedtoconstruction,theartdirectorbecamethelogicalchoicetoadministermuchoftheproductionprocess.Unlikethecameramananddirector,andartdirectorpossessedalanguageinthefromofblueprints,conceptsketchesandmodelsthatthecraftspeopleinotherdepartmentsunderstood.Atthesametime,thepictorialpossibilitiesoftheframesuggestedintheworkofGriffithandafewotherleadingdirectors,raisedthevisualanteintheindustry.Alwaysonthelookoutfornewtalent,thestudiosbeganrecruitingmagazineillustratorsandarchitectstoinjectnewideaintothefledglingartdepartmentsandhandletheincreasinglyambitiousproductionthataudiencesexpected.ItwasbecausetheartdepartmentwasabletoplanaproductionthatHollywoodbecameasuccessfulmoviefactorycapableofturningouthundredsoffeaturesanshortsthroughoutthesilentperiod.
Thenextstageofdevelopmentintheartdepartmentoccurredinthe?
0swiththeriseoftheGermancinema.DuringWorldWarIseveralofthesmallerproductioncompaniesinGermanywerecombinedintoUfa(UniversumFilmAktienGesellschaft),asinglestudiowithmammothstagesandconsiderablestatefunding.Thissupport,andthemagnificentstudiosatPostdam-Badelsberg,madetechnicalandstylisticinnovationdrivenbyGermanExpressionismandtheKammerspielfilmpossible.Thesetwomovements,onefeaturingfantasticsubjectsandtheothernaturalisticandsombersubjects,werebothdarklypsychologicalanddependentonhighlystylizedsettingsandcameratechnique.InmanywaysUfa,anditsmostimportantdirectors,writersandcraftsmen--KarlMayer,KarlStruss,FritzLang.,F.W.Murnau,G.W.PabstandA.,E.Dupont--setthepaceforfilmdesigninthe?
0s,contributingadvancesinmobilecamera,subjectiveviewpointsandmoresharplyangularcompositions.
UfaincorporatedthestagingtraditionofWagnerianoperawithitscolossalandcomplicatedsetsinmanyfilms,notonlyshowcasingthetalentsoftheartdirector,butestablishingthatanartificialsettingcouldaddenormouslytotheemotionalpowerofafilm.Italsoprovedthatmovies,eventhosewithconsiderableexteriorscenes,couldbeshotentirelyinacontrollablestudioenvironment,which,whensoundarrivedattheendofthe20s,becameanevenmoreimportantfactorinartdirection.
HollywoodwastednotimeinborrowingtheaestheticinnovationsofUfa,firstincoproductions,andlaterbyimportingthebestEuropeandirectorsandcameramenwhilemovingclosertothetotalstudioenvironmentapproachtomovie-making.BytheendofthesilentperiodthestudiosysteminHollywoodwasfullyinplace,withtheartdirectornowtheheadofadepartmentthatwaslargelyresponsibleforthemise-en-sceneofeveryfilmproducedatagivenstudio.Thisresultedinthehighlyrecognizablevisualstylesofthemajorstudiosduringthesoundperiod,eachstylegenerallyattributedtothetastesofthesupervisingartdirector.theTwentiethCenturyFoxlookwasshapedbyWilliamDarling,RichardDayandLyleWheeler;
WarnerBrothershadthegrittyrealismpreferredbyAntonGrot;
MGMhadtheluxurious,high-keylookofCedricGibbons;
ParamounthadtheEuropeansophisticationofHans,Dreier;
Universal,themoodydarknessofHermanRosseandCharlesD.Hall.AndatRKO,VannestPolglaseoversawthestylingoftheAstaire-RogersmusicalsandCitizenKane.
Theascendancyoftheartdirectorcontinuedthroughoutthesoundperioduntilanewtitlewasinventedforhisexpandedresponsibilities.In1939WilliamCameronMenziesacceptedanAcademyAwardforthenewlycreatedpositionofProductionDesignerforGoneWithTheWind.OnlytenyearsearlierhehadreceivedtheAcademyAwardforartdirectionatthefirstAwardsceremony.
Thoughtheproductiondesigner抯specificresponsibilitiesmayvaryslightlyfromfilmtofilm,hehasafarmorecomprehensiverolethanthatoftheartdirector.Inadditiontodesigningtheoverallstyleofthesets,propsandcostumes,heisalsointimatelyinvolvedwiththeshotflowanddynamicelementsoffilmdesignaswell.AgoodexampleofthisisMenzies?
contributionstoGoneWithTheWind,forwhichhedrewthousandsofelaboratecontinuitysketchesdetailingthecomposition,stagingandeditingpointsforeachshotofthefilm.Menzieshelpedelevatetheproductiondesignertotheinnercircleoftheproductionteam,joiningthedirector,cameraman,editor,and,insomeinstances,thewriter,asoneoftheprimeshotandsequencedesignersofafilm.
电影布景
电影布景
法.巴萨克著
梁宪译
序
布景吗?
在戏剧中这倒是名符其实的,因为那里有墙壁围绕的舞台,籍以悬挂彩幕或绒幕,然后按剧情所需进行“装饰”,而把非表演空间遮蔽起来。
但是对银幕来说,正如一篇寓言所说的那样“天地万物是舞台”,为什么还叫布景呢?
这个词正如把“舞台调度”(mise-en-scene,又译为场面调度)这称谓沿用做“电影导演”(mise-en-auteur)一样,是不,贴切的;
在电影中没有舞台。
电影布景并非一种“装饰”,却往往是一种构筑物,比如说电影中的客厅或酒吧间,总得像真实的酒吧间或客厅那么回事。
那么也就得了解所谓“真实”是怎么回事才好。
照片本身并非现实,而是现实的再现。
如果所拍摄下来的东西我们是如此之熟悉,难以识破其破绽,那我们就可以把它当作真实的。
比如说,我手上的这张动画片,我们之所以舍不得把它扔进字纸篓里,就是因为它上面拍摄着一只可爱的动物(例如一只小狗),形状刻画得维妙维肖,但是对于小狗的主人来说,这毕竟是张动画片。
活动影像一诞生,一场论战也就开始了。
卢米埃尔兄弟是从照相业跨进电影界来的,爱把他们的镜头对着真实的场面拍摄(现在他们的对手们把这称之为"
真实电影"
)。
另一方面,梅里埃是从魔术和戏剧界到电影界来的,是喜欢把他所看到的东西变换成他所想像的东西,然后才再现出来。
他会弄出一个超现实的世界来,就像他当魔术师时,从帽子里变戏法一样。
他这样七弄八弄所拍摄出的卡里加里畸像,跟科学幻想片塑造的现代幻想魔术的形象一样出色。
在这两种相对的极端中间,还有所谓"
模仿"
真实的概念,及相当于按模具翻制塑像的概念。
正是在这个范围内,不管布景师的印象是何等现实主义的,他都能够推行一种风格;
这种风格与其布景作品溶合在一起,至使观众感觉不到布景有什么别扭或不自然之处的时候,他的艺术也就达到了顶峰。
因此,可以毫不夸张地说,最成功的布景也就是最不引人注目的布景。
莱昂.巴萨克所获得的正是这样一种成就。
但对目光老练的行家里手来说,他所创造的--却又都带和上他独有的手工艺风格印记。
譬如说,他为《百合门》一片制造了大量大街小巷,但我敢说,发现这些东西虚假性的观众廖廖无几。
然而要是我们想将一条真街道的映象插在这些人工做成的街道的映象中间,我们还会挑出来抛弃它。
两种映象的风格相差太悬殊了,可以说,真实的东西在其仿制品面前显得黯然失色,相形见拙。
突然间用一回新闻纪录摄影机对准一位毫无准备的漂亮姑娘拍摄,所拍下来的她那种惊慌失措的映象,有时我们看到也会说:
“哟,可认不出她来了!
”但是,如果好好地给她化装,适当地给她打光,所拍下来的影片你一定会认得的。
我们所说的布景就是这么回事。
电影布景师(或者倒不如说是建筑师)也就是这样了不起的化装师。
他们之中的一位大师在此向你讲述这门艺术的发展史。
莱昂.巴萨克花了多年心血编就了这本书,为我们提供了有关电影布景的回忆录。
昔日的布景如今也只不过在必须发脆的胶片上留下一些经过定影的影子了。
读了他的书,又使我们回忆起那些布景杰作的壮境奇观。
为了几小时的拍摄之所需,建造了多少宫庭殿宇,多少冥府幽城,多少倒塌的断垣残壁啊!
从前在好莱坞曾展出过这些用木板和石膏仿制而成的都市和街道,在画家们涂抹过的油彩古色之上,又复盖上了光阴流逝的陈迹。
这些蛀痕斑驳、怪里怪
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